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Television Field Production and Reporting / Edition 5

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Overview

Television Field Production and Reporting introduces the art of visual storytelling with the most contemporary, professionally-oriented look at television field production and reporting on the market. Widely adopted and universally respected, the National Press Photographers Association endorses Television Field Production and Reporting as a resource for college students and working professionals alike.

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Product Details

  • ISBN-13: 9780205577675
  • Publisher: Pearson
  • Publication date: 6/6/2008
  • Edition description: Older Edition
  • Edition number: 5
  • Pages: 384
  • Sales rank: 798,867
  • Product dimensions: 6.90 (w) x 9.10 (h) x 0.70 (d)

Table of Contents

Preface

About the Author

Introduction: Television Is a Language

Chapter One: Telling the Visual Story

Visual Stories Begin with a Clear Focus

The Visual Storyteller Defined

Write the Pictures First

Shoot Sequences

Prove the Story’s Focus Visually

The Focus May Change

Look for a Story Focus in Spot-News Events

Identifying the Larger Spot-News Story

Tell Your Story through People

Strong Natural Sound Helps Tell the Story

Build In Surprises

Keep Sound Bites Short

Address the Larger Issue

Make the Report Memorable

News Packages Are Factual “Mini-Movies”

The Lead

Provide Visual Proof for all Main Points

The Close

Be Hard on Yourself as a Writer

Write from the Visuals

The Edit Console Is a Rewrite Machine

Reportorial Editing

A Blueprint for Shooting Spot News by John DeTarsio

Chapter Two: The Visual Grammar of Motion Picture Photography

The Shot

Basic Shots

How Shots Work Together

Camera Movement

Shots That Help Tell the Story

Location Shooting

One Shots to Crowd Shots

Master Shot with Cut-Ins

Multiple-Camera Photography

How to Shoot Matched Action with One Camera

Overlapping Action

Photographing Action Under the Photographer’s Control

Photographing Action Not Under the Photographer’s Control

Matched-Action Sequences Can Be Shot in Spot News

Screen Direction

Vary Camera Angles

Angles Provide Psychological Impact

Contrast and Comparison

Composition

Chapter Three: Video Editing: The Invisible Art

Toward a Philosophy of Editing

Everyone in Television News Is an Editor

The Nature of Editing

The Cut

Every Cut Needs a Reason

Choosing Edit Points

There Can Be No Matched Action without Overlapping Action

Editing Action That Was Under the Photographer’s Control

Cutting on Action or at Rest

Into-Frame/Out-of-Frame Action

Jump Cuts

Pop Cuts

The Cutaway

Devices to Compress Time and Advance the Action

Advance the Action

Parallel Cutting

Shot Order Impacts the Illusion of Continuity

Content Dictates Pace

Cutting to Condense Time

Shot Length

Composition Affects Pace

Reveal Meaning through Composition

Screen Direction

Editing to Eliminate the False Reverse

The Transition or Reveal Shot

Sound as a Transitional Device

Cold Cuts

Flash Cuts

Cutting to Leave Space for Audience Reaction

The Burden of “Rambo Video”

Crash Editing

Dissolves and Other Optical Effects

Nonlinear Video Editing

Chapter Four: Field Techniques of Shooting Television News

Use a Tripod Whenever Possible

The Handheld Camera

How to Use the Zoom Lens

Storytelling and Planning

Establish Communication in the Field

Think Before You Shoot

Shoot Sequences

Shoot and Move

Anticipate Action

Shooting Action Outside the Photographer’s Control

Shoot Into-Frame/Out-of-Frame Action

Shoot Only the Shots You Need

Avoid Indiscriminate Shooting

Edit in the Camera

Shoot to Eliminate the False Reverse

Involve the Camera in the Action

Working with People

Avoid Distracting the Subject

The One-Person Band

Shooting in Cold Weather

Safety First

Chapter Five: The Magic of Light and Lighting

Photography Is the Art of Controlling Light

Mixing Light Sources

Basic Lighting Patterns

The Role of Artificial Light

Key Light

Contrast Control

The Inverse-Square Law of Light

Backlight

Broadlighting and Short Lighting

HMI Lights

Lighting for high definition television

Flat Lighting

Light Diffusion

Bounce Lighting

Eye Reflections

Umbrella Lighting

Exposure

Essential Lighting Equipment

Lighting in Sunlight

How to Light a News Conference

Setting Up Lights in Cooperation with Other Crews

Lighting Etiquette

Lighting Spot News at Night

Photographing Subjects with Dark Skin

Large-Scale Lighting

Cautions

Chapter Six: The Sound Track

How Microphones Work

Directional Patterns

On Choosing a Mike

Impedance

Frequency Response

Microphones for the Broadcast Journalist

The Wireless Transmitter-Receiver

The Mixer

Essential Points for Audio

Techniques to Reduce Wind Noise

Be Aggressive

The Microphone Hears Differently

Sound Perspective

Stereo

Covering News Conferences

Recording Group Discussions

The Two-Person Interview

Record Room Tone

The Seductive Quality of “Nat” Sound

Watch What You Say

Sound and Video Accessories

Chapter Seven: The Broadcast Interview: Shooting the Quotation Marks

Establish Trust

Practice Hospitality

The Most Important Interview Question

Save Your Questions for the Interview

Use a Wireless Microphone

Do Your Homework

How to Frame Interview Questions

The Art of Listening

Avoid the Easy Questions

Build Questions around the Five W’s

Avoid Two-Part Questions

“How Do You Feel?”

Anticipate Questions the Viewers Would Ask

Practice the Fine Art of Hesitation

Pitch Reporting Opportunities

Prearrange Signals between Reporter and Photographer

How to React without Appearing to Agree

Retain Control of the Interview

Interviewing Children

The Talking Head

Influencing How Viewers Perceive the Subject

One-Eyed Talking Heads

Body Language

After the Interview Is Over

Interviews Allow Reporting through Direct Observation

Chapter Eight: Television Script Formats by Luan Akin

Reader

VTR VO (Voice-Over Video)

VTR VO (Voice-Over Video)VO/SOT/VO (VO SOT or A/B for Short)

Intros to Live Shots

Live Intros to Packages

Package Scripts

Reporter and Anchor Closes

The Case for Caps and LowerCase

Summary

Exercises

Chapter Nine

Writing the Package

Define Your Focus

Write the Beginning (Studio Lead-in)

Write the Package Lead

Write the Middle or Main Body

Write the Close

Preplanning the Package

Spot-News Packages

Set a High Standard for Packages

Use Natural Sound Liberally

Chapter Ten: Write Like a Storyteller by John Larson

Introduction

Transmitting The Experience

Be a Tour Guide

Let Your Audience Experience the Wows

Great Moments are Almost Always Unexpected

One Thought about Field Teamwork

Writing Your First Sentence

The Three Horses – Storytelling Tools for Video Stories

Telling Details

Tips for Writing Strong Stories

Physician, Heal Thyself

The “Rip It Off” School of Journalism

Think Heroes: Bono, Mother Teresa, Tiger Woods

Strong Stories are the Work of Strong Storytellers

Challenge Yourself

Chapter Eleven: How to Improve Your Storytelling Ability

Seek Gradual Improvement

Seek Minor Victories

Excellence versus Perfection

Have a Story

Excuses

Know the Community

Curiosity Pays

See beyond the Obvious

Show Audiences What They Missed

Involve the Camera

Sequences Advance the Story

Don’t Try to Show All of New Zealand

Pursue Your Interest in People

Make Viewers Watch

Develop Video Fluency

Accommodate Your Reporting to Story Demands

Reporting the Nonvisual Story

Personal Appearance and Conduct

Etiquette

Shooting and Reporting Spot News

Toward a News Philosophy

Chapter Twelve: Live Shots and Remotes by Luan Akin

What Does It Take to “Go Live?”

Spot News

Television Live Shot Formats

Narration

Helicopter Live Shots

Live in the Newsroom

Live Graphics

Live/Anchor Intros

Reporter Close

Anchor Close

Why Go Live?

Why Not Go Live?

Phoners

Live Teases

Some Parting Advice

A Final Thought

Chapter Thirteen: The Assignment Editor and Producer: Architects of the Newscast

The Assignment Editor

Assignment Editors Help Conceptualize the Package

The Producer

Toward a News Philosophy

Teases

Help Make the Station a Regional Force

Improve Audio-Video linkage

Visuals

Freshen File Video

Use Talking Heads with Purpose

Weather and Sports

Chapter Fourteen: Sports Photography and Reporting by Bob Burke and Marcia Neville

The Biggest Problem in Sports Photography

How to Shoot Sports Highlights

How to Shoot Sports Features

How to Shoot a Sports Feature and Highlights Simultaneously

Originality Counts

Be Prepared

In-Field Sports Reporting

Feature Reporting

Writing and Voicing Sports

Avoid Personal Involvement

Chapter Fifteen: Law and the Broadcast Journalist

Gathering the news

Libel

Invasion of privacy

Defamation

Use of the word alleged

Apparent authority

Technology

Telephone recordings

Juveniles as News Sources

Subpoenas and Shield Laws

Access Laws

Courtroom Television

A Legal Perspective

Chapter Sixteen: Journalistic Ethics

A Definition of Ethics

The Effects of Competition

Situational Ethics

Those Who Disseminate Ideas Cannot Be Licensed

The Journalist’s Contract Is with the Public

Law and Ethics Are Intertwined

Case Studies in Ethical Dilemmas

Reverse-Angle Questions

Staged News Events

Identify File Video Prominently

Identify Material Provided from Outside Sources

Toward an Individual Code of Ethics

Appendix A: Shooting Television News: The Basics

The Camera

The Lens

Be Careful with That Camera

Appendix B: Improving Performance in Field Reporting

How to Develop the Qualities That Make You Interesting

Why We Communicate

Communicate What You Feel about the Story

Put a Feeling of Experience into Your Reports

Multidimensional Reporting

The Body Language of Effective Reporting

Give the Story’s Meaning Some Thought

Marking Copy

How to Relax

Developing Conversational Delivery

Give Yourself Something to Do

Reasons to Do Standups

The Demonstration Standup

Avoid Staging in the Demonstration Standup

Your Appearance

Let the Audience Know You as a Friend

Community Analysis

Impacting How People Perceive Your News Sources

Use Your Body More Effectively

Posture Matters

How Reporters Evolve into Anchors

Split-Focus Presentation

The Anchor Debrief

When You Are before the Camera

Glossary

Index

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